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This composition developed as a music-centered response to my personal work with 'liminal states of consciousness' that arose in a non-art context generally characterized as healing. Based on casual recordings of my own voice that I made during actual sessions, my soundtrack focuses on sequences of highly stimulated vocalization ('excited', 'ecstatic', etc.), particularly those that seem to embody a unique and intense experience of knowing, something like a direct encounter with vitality. The effects: sound, vision and emotion in the rawest possible state. Truth shot through me like a whistle.

-Margaret De Wys
• Pivotal member of late '70s no wavers Theoretical Girls
  
• Cover art by Barbara Ess, liner notes by George Quasha
  
• Heavyweight within the museum sound-art scene breaks ranks and infiltrates the commodity fetish playground known as wholesale distribution of mass produced objects
  
• Goodbye, 20th Century!

  30-second RealAudio excerpt:

  I Oh

We as artists know and feel the true identity of sound from existentialism to our immediate surroundings. For us this was a project of triumphant research, exploring movement, sound, and emotion. Movement of our universe, the sound of this movement and the effects of them together. Culture of sound experienced in everyday life, while cruisin' and walking, a futile affair. A sonic field of power, a materialist activity, an instinctual pulsation from which aural pictures of social relations, far and close, emerge. Reaction, interactions, affections of beings and objects. Something that keeps us alive, picked up while walking, creating our songlines, seeking spiritual meaning in material space. Our dance and music, based on a temporary loss of self in chosen surroundings of sound. Those are our songs, ambivalently involved, detached, yet dialogical, interacting with what we found. Our seekers' trips through streets, spots, stores, a kitchen. We are creating some ultimate reality. Everywhere, there is life full of incident. We feel one is one's life. You can hear us working on it. Time's embroidery of blood, music, laces, laughter...and here we go: "walkin' on, leather, leather, leather...wawawa... walkin' on...

-Jess Holzworth & Jutta Koether
• Released by Thurtson Moore's prestigious label
  
• Avant field recordings of New York City - you know Smithsonian Folkways is kicking themselves over this
  
• A true Sonic life of aureatory experience

  30-second RealAudio excerpts:

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30-second RealAudio excerpts:

Pollocks Dream
The Skies of Burma
Flowers
Twisting Wires
Old Friends
Darkness

In the artist's own words, Full Stop reflects some of the areas I have been both actively and indirectly exploring for the past 10 years. I conceived each piece with both a particular acoustical concept as well as an emotional center associated with it: all are concerned with my ongoing struggle against time. As such they may be best approached as stills from a film as opposed to strict compositions.

10 FACTS YOU SHOULD KNOW ABOUT G.E. STINSON
1. He's not that guy from Saturday Night Live.
2. He's from Oklahoma and spent his formative years as a blues/rock boy in Chicago, where he opened for and hobnobbed with blues legends like Muddy Waters and Willie Dixon.
3. Warped by early '70s jazzrock mind-seepage and the global embrace of Brown Rice-era Don Cherry, he and his associates became accidental architects of what is now loosely called New Age music. Whoops!
4. Further destroyed by influential Los Angeles based pianist/improviser Richard Grossman, he almost completely abandoned composition and began to focus on totally improvised music.
5. All the music on Vapor is live and improvised.
6. His serious pursuit of the spiritual has not made his music "mellow."
7. He's a wizard with processed and prepared guitar sounds who occasionally deigns to rip some burning leads.
8. He plays with many wonderful musicians on this disc, some of whom may be unknown to you.
9. He includes the amazing bass guitarist Steuart Liebig in all six of the improvising groups represented here.
10. He's older than even me.

-Nels Cline, Los Angeles, March 1999

30-second RealAudio excerpts:

Mechanical Ghost -- Napalm Quartet
Dream of Water Part 1 -- Splinter Group
Wooden Horse History -- Bone Structure
The Pump -- Stinkbug
Pocket -- Unique Cheerful Events
Diagonal -- G.E. Stinson String Ensemble
Dream of Water Part 2 -- Splinter Group

Drunken Little Mass is a volatile work, at times delicate, at others raging, sometimes both simultaneously. One moment the music might lull the listener with its psychedelic space drone minimalism. The next moment could induce electric shock with its soaring distortion attacks. Culbertson and O'Rourke strive to create an electronic collage like no other, while Surgal tirelessly accompanies with his unique brand of free drum association. The CD also contains two duo tracks recorded live in concert. Just imagine Phil Wachsman commandeering Sun Ra's mothership, en route to El Saturn, with stowaways AMM and Popul Vuh duking it out for cosmic domination.

O'Rourke's credentials are so voluminous that they almost don't bear mentioning; suffice to say that he has worked with everyone from Takehisa Kosugi to Stereolab to Sonic Youth. Surgal and Culbertson have also performed with a wide array of other artists including Mike Watt, Peter Br^tzmann, Charles Gayle, Beck, Cecil Taylor, Elliott Sharp, Nels Cline, Zeena Parkins and Thurston Moore. White Out has appeared in the Roulette concert series, the Skif II and CMJ music festivals, and were recent guest artists of the Pittsburgh New Music Ensemble.

• Lin Culberston, Tom Surgal, and Jim O'Rourke set the NYC improv community on its ear
  
• Released by Thurston Moore's Ecstatic Peace! label
  
• No overdubs
  
• Powerbooks out, plagiarists!

  30-second RealAudio excerpts:

  Fury Breath Flying at Half Mast
  Revenging Agent
  Least Shred Of
  Maelstrom and Tear
  Longings of Underdevelopment
  Cloaking

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